AEsthetic AnalysisThomas, Y. Crowell, 1936 - 211 pagine |
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Pagina 66
... scale pattern . The scale will thus be a pattern in pitch established by pitch intervals . The pattern runs through one octave and is repeated in every other octave . Instead of one long line of pitches , we have a single short sequence ...
... scale pattern . The scale will thus be a pattern in pitch established by pitch intervals . The pattern runs through one octave and is repeated in every other octave . Instead of one long line of pitches , we have a single short sequence ...
Pagina 69
... scale . These are the notes related in pitch to the Dominant and Subdominant respectively as the Domi- nant , the ... scale ) , the Subdominant is C ( our do over again ) , and the Mediant B ( the si or ti of our scale ) . Of F , the ...
... scale . These are the notes related in pitch to the Dominant and Subdominant respectively as the Domi- nant , the ... scale ) , the Subdominant is C ( our do over again ) , and the Mediant B ( the si or ti of our scale ) . Of F , the ...
Pagina 77
... scale - order , became ap- plicable . Thus it is a series of abstract elements that we have found as the scale , along an abstract continuum of one dimension . And of course these elements remain also in the order intrinsic to that ...
... scale - order , became ap- plicable . Thus it is a series of abstract elements that we have found as the scale , along an abstract continuum of one dimension . And of course these elements remain also in the order intrinsic to that ...
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abstract accent acquaintance actual adequate aesthetic æsthetic content æsthetic experience æsthetic objects æsthetic surface æsthetic theory appre apprehended artists attention basic body called carbonated water character characteristic clear clearly color variations complex concrete conscious constitute crete criticism defined definitely degree determinate direct directly discerned discriminating distinct distinguished Dominant duration El Greco elements emotional exhibited expressive fact familiar felt formal function fundamental give given grasp human iambs indicate individual intelligible intrinsic knowledge Leverett House means measure Mediant merely musical scale notes obvious octave particular Pathétique Sonata perceptual physical pitch intervals pitch relation Polyclitus Prall processes qualitative orders relevant rhythmical scale scheme sculpture sense sensuous serial orders simply sonata form sort sound spatial specific string structure Subdominant syllables systematic temporal aspect temporal pattern tern theory of forms timbre tion Tonic trochees University of Michigan-Flint vague vibration rate whole words